First listen: Fischerspooner, ‘mister’

The last time you heard about Fischerspooner, the original poster boy for the art pop duo and the New York City’s early electrocautery, seems to have run aground. Although many singer and instrumentalist warren fischer k spooner in the first place (epic release self growing in 2000, on a global scale is larger and larger record company signature and reissue again, until 2003) again released two albums, their reputations. Its peg, performing arts, bold (match the “live” show) and underground hit single “Emerge” let the scene of New York City from 9/11 flowering of special-shaped standard plot ease down, and is now history in Lizzy Goodman’s book, know I’m in the bathroom.

At that time, Fischerspooner was ridiculed in the rock and roll crisis. However, many of today’s electronic pop music producer (think Sophie, Charli XCX, Hercules&Love Affair, many artificial DJ EDM) and its concept, (Lady Gaga) and Anohni think of dramatic eye is # 1 is a huge debt is not achieved overnight.

Mr Fischerspooner

SIR will be released on February 16th via Ultra Records.

Nine years after the final Fischerspooner album, Sir Is no accident or spirit. It intentionally provided the couple with excellent sexual provocation and identity commentary during their heyday. Its sound and vision are strangled and choked by contemporary consumption. Some of this unexpected glory falls on the couple’s latest collaborators (one of the rotating characters is always part of Fischerspooner’s story). In jazz, this is a special bold list: ex-rem. Singer Michael who credited jointly written production and album, from Athens, ga, with the help of songwriter/engineer Andy lai masters, there are three orbit is produced by the joint BOOTS (beyonce and famous FKA branch). The jazz also featured the contribution of Le Chev, Spooner’s longtime collaborator. As a result, the speed of sound and narrative focus, 13 medium speed popular songs, fat is almost zero.

The basic theme of this album is the gay male sexuality of middle-aged twilight. Whether spooner was the real protagonist or simply sang his character, the jazz were filled with faded dreams, renewed hope of sexual relations, and weighed down by the passage of time. Even the novel metaphor in the lyrics passion, also known as physical, usually is the wish of NSFW – “angry motorcycle purebred”, “not opposed to shame”, “denim on denim,” “night of dorsal fin in Berlin”, “butterscotch” “pink night on Saturday night” – these dates is outdated, look more old and more eccentric. Combining these with a layered synthesizer series and a drum machine can trigger a reagan-era industry and EBM to reinforce nostalgic notions of sexual dangers. In fact, the Depeche Mode album of the 21st century is more attractive than Dave Gahan and Martin Gore in a period of time. Spooner and the rest of the album’s lead singer, Caroline Polachek, Holly Miranda, played the role of the script.

The most acute loneliness in the jazz’s perspective is best expressed by the more familiar “Oh LiYaoReNaLu”, the most complete character in the album. It’s an autobiographical story about Brazil’s wandering old man, “the spy’s wild young man is fast and free… Piece together a teenage fantasy, “but actually” paralysis “in my dream, and had been” basking in the sun “(sweetly as Miranda choral singing, in a beautiful voice and lyrical collocation). The dark environment keyboard and the detached auto-tuning sound float like a ghost. This scene is an ugly, aging realism in a sexy billboard utopia. It’s easy to identify them as fraud, but don’t fantasize.